After the last of the viable mask has been removed, I wet the paper generously to remove the last remnants of the of the mask. This is a necessary step because unless the masked area has been washed, it will take paint unevenly or not at all.
Then I laid in the sky. This time I went for blue (cerulean blue, and French Ultramarine).
With Sky
From here on out it’s all detail. I used a mixture of French ultramarine and Windsor red for all of the brush work. I varied the temperature of the mixture to match the surrounding pour image and to cool shadowed areas. I mostly left the poured passages alone.
The Counter-Weight (11 x 14) ($75)
What would I do differently? Well, the current composition is unobjectionable but it lacks excitement. The early painting had movement and especially depth that this one lacks. I may go back to the bridge with sketchbook and camera in hand, but not today.
Here are some other examples of paintings I have made using the multiple mask and pour method:
